Studio of Classic Photography 7

Předmět není vypsán Nerozvrhuje se

Garant předmětu

Jméno vyučujícího (jména vyučujících)

Obsah

The classical photography studio focuses on technological procedures and processes in the generation of photography. The content arises from the assumption that the student must master particular technical tasks which open a path to the realization of one's artistic intentions. Procedures are analysed with students which lead to priorly established goals. Part of instruction is a comparison of various technology and their limitations which often may become the single bearer of implementation of the selected intent.

The studio is devoted to working with classic analog photography from cinematic film to large-format photography. Students have the opportunity to work with negatives up to 30x40cm and to subsequently produce on color paper in meter dimensions.

Part of the studio is a workshop focused on historical photography techniques such as flexography, cyanotype, bromoil print or working with gelatine and its transfer to non-standard materials. A unique original, where the bearer of the positive image is the negative, is photography.

The studio is dedicated to technological innovations, research and evaluation of the potential of digital photography and other technologies which take part in the recording of an optical image. Part of the studio are new light sources, managing aerial photography using drones, or acquiring extremely high-quality shots using various robotic devices.

Investigation of the potential for realizing one's creative intentions in relation to the selected technology is, among others, in studio discussions.

Výsledky učení

The classical photography studio focuses on technological procedures and processes in the generation of photography. The content arises from the assumption that the student must master particular technical tasks which open a path to the realization of one's artistic intentions. Procedures are analysed with students which lead to priorly established goals. Part of instruction is a comparison of various technology and their limitations which often may become the single bearer of implementation of the selected intent.

Předpoklady a další požadavky

The Ephemeral in Photography

„All photographs are memento mori. To take a photograph is to participate in another person’s (or thing’s) mortality, vulnerability, mutability. Precisely by slicing out this moment and freezing it, all photographs testify to time’s relentless melt.“

(Susan Sontag: On Photography)

Nature, material things as well as human life, basically everything that surrounds us, are the subject to development, extinction and transformation. The only thing that is undoubtedly permanent, is change. Not only the visible world around us but also our mind is subject to transience. It is constantly transformed by storing deposits of new thoughts and experiences, and as a result, our memories are constantly changing.

No other medium reflects the ubiquitous change as clearly as photography. It reveals how everything around us falls victim to time and outside conditions. It has the ability to capture processes of appearance, disappearance, degradation, and destruction. To imprint a phenomenon or an event on photographic film is to give them importance and immortality without which they would otherwise cease to exist.

The ephemeral in photography, the theme of the studio assignment in winter term 2021/22, intentionally affords a multiplicity of layers and interpretations. You can use the areas listed below as sources of inspiration:

• ravages of time: matching historical material with analogical images from the present (people, buildings, places)
• temporality: record of the degradation of things (sequence, time-lapse series)
• transience as changes in illumination of objects and places in the course of a day
• transformation: changes in nature effected by natural energy (wind, drought, pests, etc.)
• transience as mortality: vanitas, memento mori, death mask
• impact of time on the medium of photography: degradation of photographic material due to expiration, external environment, and controlled interventions
• reconstruction of time and memories
• photography of movement and fleeting moments, recording of a course of events, arbitrary vs. decisive moment
• transience expressed through the use of formal and technological tricks and processes (dissolving of motives, soft optics, fog, smoke, multi-exposures)

Your work is not limited by choice of genre or technical approach. You have the opportunity to choose or discover a creative approach that suits you best, both in terms of expression and execution. The resulting work must be anchored in the medium of photography and must consist of at least six individual photographic images.

Embark on a journey of exploring the ephemeral and try to immortalize it with your photographic work!

Literatura

Scheufler, Mikš, Růžek, Spevák, Stýblo, Jiráček, Opočenský. Technické základy fotografie 2002

Jan Pohrybný: Kreativní světlo ve fotografii 2011

Kelby Scot: Digitální fotografie 1-4

Scheufler, Mikš, Růžek, Spevák, Stýblo, Jiráček, Opočenský. Technické základy fotografie 2002

Jan Pohrybný: Kreativní světlo ve fotografii 2011

Kelby Scot: Digitální fotografie 1-4

Alberro, Alexander - Norvell, Patricia (ed.): Recording Conceptual Art, Berkeley,

Los Angeles a London: University of California Press, 2001

Alberro, Alexander, Sabeth Buchmann: Art After ConceptualArt, MIT Press,

Cambridge and London, 2006

Fried Michael: Why Photography Matters as Art as Never Before, Yale University

Press, New Haven 2008

Bourriaud, Nicolas: Postprodukce, Praha: Tranzit, 2004

Bourriaud, Nicolas: Relational Aesthetics, Dijon: Les presses du réel, 2002

Cotton Charlotte: The Photography as Contemporary Art, London, Thames

Hudson, 2004

Císař, Karel (ed): Co je to fotografie? Herrmann a synové, Praha 2004

Foster, Hal (ed): Postmodern Culture, London: Pluto Press, 1990

Foster, Hal; Krauss, Rosalind; Bois, Yves-Alain; Buchloh, Benjamin H.D.: Art

since 1900, London: Thames & Hudson, 2004

Michel Frizot: Nouvelle Histoire de la Photographie, Larousse-Bordas, Paris,

1996

Grygar Štěpán, Konceptuální umění a fotografie, Praha, AMU, 2004

Petříček Miroslav: Myšlení obrazem, Herrmann a synové, Praha 2009

Silverio, Robert: Postmoderní fotografie, Praha: AMU, 2007

Liz Wells. The Photography Reader, Routledge, London, 2003

Wall, Jeff: Selected Essays and Interviews, New York: The Museum of Modern

Art, 2007

Hodnoticí metody a kritéria

Students may be graded based on attendance 80% and participation in group excursions. Each exercise will be graded according to the criteria given.

Poznámka

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Další informace

Pro tento předmět se rozvrh nepřipravuje

Předmět je součástí následujících studijních plánů

• Fotografie EN - magistr-1920 (povinně volitelný předmět)